New website challenging Elie Wiesel on tattoo and other identity issues

by Carolyn Yeager
I Con the World
Is Elie Wiesel an icon or an “I con?”
Venerated and billed as “the world’s most famous Holocaust survivor” and a Nobel Peace Prize Laureate, earning hundreds of thousands of dollars every year in speaking fees (at $25,000 a pop it might be closer to say a million), and holding a prestigious, but undemanding six-figure professorship in Humanities at Boston University, Elie Wiesel has never been asked to show any proof that he is what he says he is.
Everything written about Elie Wiesel that this writer can find skims over the details and dwells on the emotionality of holocaust, humanity and hate. Among the many unnerving quotations from Elie concerning the last h-word is this one, found preceding an essay in the Jewish Daily Forward of June 9th by Anita Epstein, titled “Why I Cannot Forgive Germany:” [1]
“I cannot and I do not want to forgive the killers of children; I ask God not to forgive.”
– Elie Wiesel
Ms. Epstein is influenced (or inspired?) by Wiesel to hold onto hate by holding on to the holocaust legends, such as the one about “Germans” throwing babies off of balconies. Another famous statement made by Elie is:
“Every Jew, somewhere in his being, should set apart a zone of hate – healthy virile hate – for what the German personifies and for what persists in the German. To do otherwise would be a betrayal of the dead. ”
Elie Wiesel actually plays God. The world has been conned into seeing him as the next best thing to God, as someone who has risen above it all, as someone who is capable or has earned the right to pass judgment on the rest of humanity. What has earned him this right is clearly his suffering during the one year he was held in concentration camps and his “powerful prose” in describing it.
However, Elie’s actual presence in the Auschwitz “death camp” and the Buchenwald concentration camp during 1944-45 rests solely on the claims of the New York Times and his well-promoted books, the most famous being his first one, Night, published in 1955 in Buenos Aires. That’s an interesting story in itself, but here I will limit myself to a chronology of NYT features on Elie that coincide with his advancing fortunes.
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